Ich sagte mir, dass ich mich nicht um ihn schere. Nur darum, was er mir schuldet, was auch immer das genau war. Das habe ich wirklich versucht zu glauben. Er hat seinen Job verloren. Seine besten Freunde sind weggezogen. Sogar sein allabendliches Ritual, eine Folge der alten Fernsehserie "Polizeibericht" zu sehen, musste er aufgeben.
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All Categories 9 results. Craig Lancaster Narrated by: Eins plus Eins macht DreiAutor:: Balbina Brauel, Gerhard AcktunFormat: As one story is revealed, another sweeter one, a l A Hard Candy ChristmasAuthor: After a holiday wrought with tragedy, Ka A short, fictional bi The River Flows OnAuthor: Its , and Kate Cameron is just sixt Karen Suender, Denis AbrahamsFormat: Vigil for a StrangerSubtitle: Die verschwundene Chefredakteurin - Februar Holly 1 Autor:: It started with a letter The Curvy Girls ClubAuthor: Welcome to Player FM What if radio played only the shows you care about, when you want?
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Brilliantly useful, fantastically intuitive, beautiful UI. Developers constantly update and improve. Easy and intuitive to use. Die seinen Bund behalten. Er herrscht im Himmelreich. Ihr starken Engel, waltet. Seins Lobs und dient zugleich. Dem grossen Herrn zu Ehren. Sein Lob an allem Ort. Martin Chemnitz, the great Lutheran theologian and one of the authors of the Formula of Concord, is given as authority for the statement that Johann Gramann Graumann; Poliander wrote this hymn in , based on Ps.
It is without question one of our most majestic and most fervent hymns of praise, one that should be in the reportory of every Lutheran congregation. A fifth stanza, evidently not by Gramann, appeared in and was added to the hymn in a number of German hymnals. Sei Lob und Preis mit Ehren. Der woll in uns vermehren,. Dass wir ihm fest vertrauen,. Von Herzen auf ihn bauen,. Drauf singen wir zur Stund: Martin Chemnitz relates that Graumann was requested to write this hymn in by the elector Albrecht, whose favorite Psalm was the rd.
At all devotional meetings he requested that this hymn be sung last. How he joined in the singing of the beautiful text and was cheered with the many pious thoughts which he thus gathered! On this account the hymn is especially cherished also by me. This hymn was sung at the Lutheran service conducted in the Church of St. Anna by Gustavus Adolphus after he had entered the city of Augsburg and restored the Augsburg Confession. Another translation was later made by Landstad.
The first English translation was rendered by I. The version which appears in our Lutheran Hymnary is by Miss C. Winkworth and dates from the year Lindeman and appeared in in his Koralbog for den Norska Kirke, set to H. It belongs, possibly, to the 13th century. It was not written for liturgical use, but it soon became very widely known. It was used by the Flagellants during the middle of the 14th century. Not before was it incorporated into the Missale Romanum. It was commonly used in redactions containing ten stanzas, but more stanzas have been found. Our cento in The Lutheran Hymnary is made up of several revised and combined strophes.
There are many such free renderings of the original poem. It is not definitely known who wrote this stirring poem, picturing to us the mother of Christ standing beneath the cross—this poem with its deep sincerity of feeling, its beautiful rhythm, and its melodious feminine rime.
Jacopone di Benedetti from Todi , who died in , has commonly been mentioned as the probable author of this hymn. Pope Innocent III and others have also been mentioned. It is not known that this form of verse was used earlier than The hymnologist Mone is of the opinion that the original poem was written by Pope Innocent III and later revised and enlarged by Jacopone. In it was revised into current Danish by B. The melody Nicea by J. Dykes was composed for the first edition of Hymns Ancient and Modern, Dykes and appeared in Hymns Ancient and Modern, Isaac Watts published this hymn in the enlarged edition of his Hymns and Spirztual Songs, The text is slightly altered, chiefly in Stanza 4, Line 4, where Watts had.
And hopes her guilt was there. This change was made, with others not so happy, in the Wesleyan Hymn Book, A special edition of this hymn was published in The English translation of this hymn was made by Miss Winkworth and was included among the hymns in her Chorale Book for England, This hymn appeared first in Hymns of Faith and Hope, second series, It contained 12 four-lined stanzas. As a rule it appears in an abbreviated form. The first line is also found thus: It is used very extensively in these various versions. Und hat das arme Fleisch. Hier ist der Mann, der Herr,.
Der Furcht und Strafe stillt,. Des Weibes Same kommt: Der Stern aus Jakob funkelt,. Die alle Welt verdunkelt. Hier ist es, Israel,. Was du erwarten willt;. Worauf das alte Bild. Es hat sich Rat, Kraft, Held. Und wird ein schwaches Kind: Die Kindschaft ist erworben. Was unter dem Gesetz. Und dessen Fluch verdorben,. Gott ruft den Frieden aus;. We have been unable to trace the authorship of this hymn. It is not found in many hymnals. The Rochlitzer Gesangbuch of is one of the few that have it. The translation is an altered form of that by Frederick W. Herzberger published in the Selah Song-Book.
Now Christ is risen! Der Tag, der ist so freudenreich. Denn Gottes Sohn vom Himmelrelch. Von einer Jumgfrau ist geborn.
Was geschah so wumderlich? Gottes Sohn vom Himmelreich,. Der ist Mensch geboren. For the second verse, see: To us is born a little Child. James Mearns thinks it is of German origin. He further states that Luther spoke of this hymn as a work of the Holy Spirit. It is found in Latin and German versions, but the author and the original text cannot be determined.
The German version is given by Wackernagel as a fifteenth-century translation from the Latin. Some of the various German versions have as rnany as thirteen stanzas. Our translation is an altered form of what was prepared for The Lutheran Hymnal in It is found in M. It had previously appeared in the hymnbook of the Bohemian Brethren by Michael Weisse, Ich habe num den Grund gefunden,.
Wo anders als in Jesu Wunden? Da lag er vor der Zeit der Welt,. Der Grund, der unbeweglich steht,. Es ist das ewige Erbarmen,. Es sind die offnen Liebesarme. Dem allemal das Herze bricht,.
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Wir kommen oder kommen nicht. Wir sollen nicht verloren werden. Gott will, uns soll geholfen sein;. Deswegen kam der Sohn auf Erden. Und nahm hernach den Himmel ein;. Durch Christi Tod verschlungen hat! Das heisst die Wunde recht verbinden,. Da findet kein Verdammen statt,. Dem will ich mich gekost vertraun. Nur bald nach Gottes Herzen schaun;. Da findet sich zu aller Zeit. Wird alles andre weggerissen,. Darf ich von keinem Troste wissen. Ist die Errettung noch so weit;. Mir bleibet doch Barmherzigkeit. Muss ich an meinen besten Werken,.
Darinnen ich gewandelt bin,. Doch ist auch dieser Trost bereit: Ich hoffe auf Barmherzigkeit. Es gehe mir nach dessen Willen,. Bei dem so viel Erbarmer, ist;. Er wolle selbst mein Herze stillen,. Damit es das nur nicht vergisst;. In, durch und auf Barmherzigkeit. Bei diesem Grunde will ich bleiben,. Das will ich denken, tun und treiben,. Solange sich ein Glied bewegt.
O Abgrund der Barmherzigkeit! Rothe is the author of this fine hymn. The following paragraph from Julian shows that there is uncertainty as to its exact date: This is probably a misprint for , and the hymn, as will be seen above, was in print in It was suggested by Heb. The translation is composite. THIS beautiful poem is one of the German hymns which is most popular, not only in Germany, but also in Norway, Sweden, and Denmark, and in the English-speaking countries as well.
It was later taken up in the hymn books of the Moravian Brethren. The original contains 10 stanzas. It was rendered into Danish by H. Brorson and appeared first in Nogle Psalmer om Troens Grund, This version with a few alterations entered into Landstads Salmebog.
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There are at least five other English renderings of this hymn. Words from this hymn were heard from the lips of the pastors Edward Bickersteth and J. Fletcher as they lay upon their deathbeds. Skaar says that if Rothe had not written any hymns other than this one, it alone would have entitled him to rank among the best hymn-writers of the Church.
From east to west. Ihr aber, meine Sinnen,. Auf, auf, ihr sollt beginnen,. Wo bist du, Sonne, blieben? Die Nacht hat dich vertrieben,. Die Nacht, des Tages Feind. Mein Jesus, meine Wonne,. Gar heil in meinem Herzen scheint. Der Tag ist nun vergangen,. Wenn mich wird heissen gehen. Mein Gott aus diesem Jammertal. Der Leib eilt nun zur Ruhe,. Legt ab das Kleid und Schuhe,. Das Bild der Sterblichkeit;. Wird Christus mir anlegen. O Jesu, meine Freude,. Will Satan mich verschlingen,. So lass die Englein singen: Dies Kind soll unverletzet sein! Auch euch, ihr meine Lieben,.
Kein Unfall noch Gefahr. Ums Bett und seiner Helden Schar. The hymn has long been popular in the German-speaking church because of its truly childlike popular spirit, its naive simplicity of expression, its loftiness of thought, and its depth of Christian experience.
During the period of Rationalism in Germany it became the object of much shallow wit, especially Stanza 1, of which it was said, How can the dead woods rest, which never are awake, and how can the world lie in slumber? We know that when one half of the world retires to sleep the other half awakes from it! However, Richter, in his Biogr. It has often been the last prayer uttered on earth and in many districts of Germany is used at the close of the baptismal service to commend the dear little ones to the protection of their Lord Jesus.
The omitted Stanzas 5, 6, and 7 read: Head, hands, and feet reposing. Are glad the day is closing,. That work came to an end;. Cheer up, my heart, with gladness! Ye weary limbs, now rest you,. For toil hath sore oppressed you,. And quiet sleep ye crave;. From which no man can wake you,. In your last narrow bed—the grave. My heavy eyes are closing;. When I lie deep reposing,. Soul, body, where are ye? To helpless sleep I yield Them,. Oh, let Thy mercy shield them,.
Thou sleepless Eye, their Guardian be! It is one of the most beautiful and beloved of all the German hymns. In a masterful manner the bodily and the spiritual, the temporal and the eternal, the terrestrial and the celestial are set over against each other in every stanza of the hymn. This union of lofty sentiment and childlike piety, simplicity, and homelike tone gives it a unique charm.
According to an old legend, Gerhardt wrote this hymn one evening upon hearing this melody resound from the church tower. One thing is certain, that in this hymn the poet has been exceptionally fortunate in striking proper chords in the popular religious consciousness. In homes where the closing hours of the day have been hallowed by prayer and devotion, this hymn has resounded from generation to generation, and in the case of many, it has become part of the never-to-be-forgotten heritage of childhood memories.
Thus, in the case of the great German poet, Friedrich von Schiller, whose pious mother often sang him to sleep with this hymn. The truly naive poetry of this hymn has not always been understood. On the other hand, it has even been ridiculed by those who were not familiar with the childlike piety of spirit out of which it has sprung. But with the faithful Christian this hymn will always retain its undying favor. It possesses something of the mild glow of the evening star, which gently breaks through the twilight of the day of life. Especially has the eighth stanza of the hymn the fourth stanza of our version been of great comfort and encouragement to thousands of souls.
It has often been the last prayer uttered on earth. Among the 16 or more English centos and translations, there are three in common use. Of these, the one by Miss Winkworth, , has been, with a few changes, adopted by The Lutheran Hymnary. Our version contains stanzas 1, 4, 6, 8, and 9 of the original. A new translation was rendered by Landstad, Our present version employed in The Lutheran Hymnary is based upon Bible passages as follows: No passage for stanza 1; stanza 2: Nu singet und seyt fro! Und leuchtet als die sonne. Alpha es et O! Nach dir ist mir so we;.
Trahe me post te! Wir weren all verloren. So hat er uns erworben. Nirgend mer denn da,. Da die engel singen. Und die schellen klingen. The macaronic was rather, as Nelle says, the result of the delight which many people took in this type. Luther is credited, by Albert F. Fischer, with having changed the third stanza of the macaronic to its present form. Prior to that time this stanza overemphasized the place of the Virgin in the plan of salvation. In dulci jubilo Nun singet und seid froh! Vnsers hertzen wonne leit in praesepio Vnd leuchtet als die sonne matris in gremio.
Alpha es et o, Alpha es et o. Hymns of this type were common in Germany towards the close of the Middle Ages. These hymns were generally of a happy and joyous vein, and they were used chiefly on occasions like Christmas and Candlemas. Eight versions of it have been gathered by the hymnologist Wackernagel. Peter of Dresden Peter Faulfisch , a school teacher and a follower of the Husites, has been mentioned as the author. He died in , as rector in Zwickau.
But strong evidence points to a more remote date. According to the hymnologist Skaar, a Zwickau manuscript dating from the fourteenth century contains a sketch of the life of the Dominican monk, Heinrich Suso, and tells the following story: The story shows that even as early as the close of the fourteenth century this hymn was cherished very highly, hence the conception of its heavenly origin. This hymn has brought heavenly comfort to others besides Suso. Especially has the longing for heaven, so beautifully expressed in this hymn, struck home to many hearts.
Des sind wir froh, io, io! Ewig in dulci iubilo. Nun danket alle Gott. Der grosse Dinge tut. An uns und allen Enden,. Der uns von Mutterleib. Und noch jetzund getan! Der ewig reiche Gott. Woll uns bei unserm Leben. Und edlen Frieden geben. Erhalten fort und fort. Und uns aus aller Not. Dem Vater und dem Sohne. Und dem, der beiden gleich. Als es im Anfang war. Und ist und bleiben wird.
The first two stanzas of the hymn are evidently based on Ecclus. He grant us joyfulness of heart and that peace may be in our days in Israel forever; that He would confirm His mercy with us and deliver us at His time. The translation is by Catherine Winkworth, Lyra Germanica, second series, Very likely it appeared also in the first edition of this book, Leipzig, , but of this no copies are extant.
It is one of the most favored hymns of the Protestant churches. It was sung after the battle of Leuthen, , while the army of Friedrich II was yet upon the battlefield. A soldier began the hymn, and the whole army, even the mortally wounded, joined in the singing. It was sung during the festivities in connection with the opening of the Cathedral of Cologne, August 14, It was likewise used at the laying of the cornerstone for the new parliament building in Berlin, June 9, It was sung at the thanksgiving services in England at the close of the Boer War.
There are at least 12 English translations. The hymn is based upon the words of the high priest Simeon, Ecclesiasticus He giveth us the joy of our heart, that we may find peace in Israel as in the days of yore, thus He lets His loving kindness remain with us, and He will redeem us in our day. The third stanza contains the ancient doxology, the Gloria Patri. Havergal wrote this evensong on October 17, , at Leamington. It appeared in Songs for Little Singers, The melody for the above-mentioned hymn is supposed to have been composed by Hartnack Otto Konrad Zinck This volume contained the melodies for The Evangelical Christian Hymnary.
Luther adopted this Pentecost stanza and added the three following. It has found a place in all Lutheran hymn books. Luther, who himself ordered it for use after communion, later included it among his funeral hymns. It has commonly been sung on Pentecost Day, but in many places it is used as a fixed hymn to be sung before the sermon every Sunday. This version was made use of in the first Danish-Norwegain hymn book by Guldberg. The first stanza here is as follows: The accepted Norwegian version is by Landstad.
The first stanza is always used in our Church at the ordination of ministers. The melody is possibly as old as the first stanza of the hymn. The oldest source is a Hussite cantionale from the 15th century. The hymn was sung to this tune to celebrate the Peace of Westphalia, December 10, , and has since been widely used for all celebrations of praise and tbanksgiving. The melody is one of the oldest of Lutheran origin. The melody was first published in Etlich Christlich Lieder, the so-called Achtliederbuch, It is very extensively used in Germany and in the Northern countries.
It is said to have been written down by Luther from hearing it sung by a traveling artisan. It has not been definitely established that the melody for this hymn dates from the fourth century. It was printed together with this hymn in the Geystliche Gesangk-Buchleyn and in the Erfurt Enchiridion, The original tune used with this hymn in was possibly written by Hans Kugelmann. This is found in The Lutheran Hymnary as the setting for Nos. Gramann or by Johann Kugelmann, in whose Concentus Novi, etc.
Isaac Watts first published this hymn in his Psalms of David Imitated, , as a metrical paraphrase of Ps. Felix dies, quam proprio. Felix dies, qua gestiit. Vix natus, ecce lacteum. Libamen es hoc funeris,. Intrans in orbem, iam Patris. Ex qua potest fit victima. Amore se facit reum,. Sub lege factus legifer,. A lege nos ut eximat. Tu, Christe, quod non est tuum. Qui natus es de virgine,. Iesu, tibi sit gloria. Cum Patre cumque Spiritu. It was published in the Sens Breviary, , in seven stanzas. The omitted Stanza 5 reads: The wound He through the Law endures.
Our freedom from that Law secures;. Henceforth a holier law prevails,. That law of love, which never fails. The translation is an altered form of the version by John Chandler, first published in his Hymns of the Primitive Church, Herr, heb auf mich dein Angesicht. Und deinen Frieden auf mich richt! The author of this hymn is Martin Behm, who first published it, in seven stanzas, in his Kriegesman, Das ist: Later, in Centuria secunda, etc. The translation is an altered form of that by Conrad H. Schuette, in the Ohio Lutheran Hymnal of In house and home.
Life and Full Salvation in Christ. The translation is by R. Massie in his Lyra Domestica, A large number of centos or excerpts from this hymn are in common use in England and America. Wohl einem Haus, da Jesus Christ. Allein das all in allem ist! Heil, wenn sich Mann und Weib und Kind.
Zu dienen ihrem Herrn und Gott. Nach seinem Willen und Gebot! Und wenn sie Kind und Kindeskind. Die Eltern werden hoch erfreut,. Wie Gott die Seinen segnen kann. Samt meinem Hause diesen Bund: Ich und mein Haus stehn bei dem Herrn! On the Parents of Jesus. This cento contains Stanzas 1, 2, 6, 7, and 8. Catherine Winkworth, in her Chorale Book for England, , translated this hymn, omitting Stanza 6 of the original our third above and combining the thoughts of Stanzas 3 and 4 into one.
The omitted stanzas in her version are: Blest where their prayers shall daily rise. As fragrant incense to the skies,.
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While in their lives the world is taught. That forms without the heart are naught. Blest where the busy hands fufil.